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Queering the Vampire Narrative offers classroom-ready original essays that continue our explorations of vampires as representations of the cultural Other, which builds on the work of our previous texts. The editors argue, ultimately, the vampire is a queer icon, infinitely blurring the boundaries of identity and cultural norms and queering even the most seemingly stable notions, such as life, death, humanity, and monstrosity. The Vampire is the undead monarch of subtextual articulations of Otherness, especially queer behaviors and desires, offering explorations of the AIDS epidemic, the destabilization of ideas of fixed and stable sexuality, the search for community and chosen family, and the issues of individual and generational trauma. In current fictions, vampires are coming out of the coffin and the closet, identifying as openly queer and often created by queer writers, artists, and directors and bringing the subtext to the surface of the narrative. This volume seeks to create a dialogue about the impact and importance of the vampire on queer identity and queer theory and to answer the questions of why the vampire is such a compelling queer icon and what visions of vampires articulate about our ideas surrounding issues of sexuality, sexual orientation, sexual behaviors, and desires.

Jane Austen and Vampires is the first book to investigate the literary convergence of Jane Austen and vampires in Austen fanfic after the success of Stephenie Meyer's Twilight (2005) and Seth Grahame-Smith's Pride and Prejudice and Zombies (2009). It asks how the shifting cultural values of Austen and the vampire have aligned, and what their connection might mean for their respective contemporary legacies. It also makes a case for reading “low brow” Austen fanfic attentively, as a way to gain meaningful insight directly from Austen fans into the tensions and anxieties surrounding contemporary notions of love, sex, femininity, and Austen's modern currency. Offering close readings of Austen's vampire-slaying heroines, vampiric retellings of Pride and Prejudice, and the transformation of Austen herself into a vampire, this book reveals Austen-vampire mashups as messy, complex entanglements that creatively and self-reflexively interrogate modern fantasies of vampire romance. By its unique intersection of Jane Austen with the vampire, the Gothic, fan culture and popular romance, Jane Austen and Vampires adds a new chapter to the history of Austen's reception, for fans, students and scholars alike.

This Handbook MRW will be a unique encompassing overview of the figure of the vampire. Not only covering the list of usual suspects, this volume will provide coverage from the very first reports of vampire-like creatures in the 17th century to film and media representations in the 21st century. The Palgrave Handbook of the Vampire will show that what you thought you knew about vampires is only a fraction of the real and fascinating story.

Desde hace unos años hemos visto cómo la figura del vampiro ha pasado de ser una que infunde terror, a una que desata pasiones, un don Juan. El vampirismo es el nuevo donjuanismo, por lo que hablaremos de un arquetipo: el don vampiro. Pero ¿cómo es posible? El libro'Don Vampiro: De monstruo a amante'te lo cuenta. Revisando obras como'El Vampiro'de John William Polidori, pasando por los donvampiros cinematográficos más emblemáticos de Hollywood o por los del cine de terror español de los años 70 (el fantaterror), en este libro verás trazada una línea desde los orígenes del vampiro seductor hasta llegar a versiones recientes y al análisis del panorama actual del relato español.'Don Vampiro'es una monografía que investiga la creación y desarrollo del arquetipo del vampiro seductor haciendo un recorrido por las obras literarias y cinematográficas que forjaron el personaje. Asimismo, explora la tradición del arquetipo en el cine y el relato español, haciendo hincapié en las representaciones más recientes y en la convergencia de elementos globales y españoles en las diversas iteraciones del mito. Además, el libro se centra en revelar cómo las representaciones del vampiro van amoldándose a los cambios socioculturales. Con los cambios sociales se necesitan nuevos monstrous para fascinar y poner a prueba los valores anteriores. Los donvampiros aparecen para retar especialmente al patriarcado y, con ello, poner en evidencia la opresión que ha ejercido sobre las personas que no han encajado en sus moldes tradicionales. Este libro puede ser de interés tanto para académicos como para aficionados a la literatura y al cine donjuanescos y de vampiros.

Immerse yourself in a spine-chilling world of gothic horror and ancient evil. The enigmatic Count Dracula leaves his Transylvanian castle to spread his dark influence in Victorian England. As a group of intrepid individuals seeks to thwart the vampire's malevolent plans, a harrowing battle between good and evil ensues. With hauntingly atmospheric prose, Stoker weaves a tale of terror, seduction, and the struggle for survival. Brace yourself for a gripping journey that explores the darkest corners of the human psyche and forever solidifies the legend of Count Dracula as the quintessential embodiment of the vampire mythos.ABOUT THE AUTHORBram Stoker (1847-1912) was a visionary and influential Irish author, renowned for creating the iconic vampire novel'Dracula.'Born in Dublin, Stoker's fascination with folklore, superstitions, and the macabre fueled his imagination, leading to the creation of one of the most enduring and captivating literary characters of all time - Count Dracula. Though'Dracula'was initially met with mixed reviews, it eventually became a literary sensation and established Stoker as a master of Gothic horror. His meticulous research and haunting storytelling captivated readers and inspired countless adaptations in various media. Beyond his famous vampire tale, Stoker was a prolific writer, contributing to other genres such as romance and adventure. Despite facing health challenges throughout his life, he remained dedicated to his literary pursuits. Today, Bram Stoker's legacy endures as a symbol of the enduring allure of the supernatural and the eternal appeal of the undead in popular culture. His impact on the horror genre continues to inspire new generations of storytellers and continues to chill and thrill readers around the world.

An indispensable resource for students and researchers of paranormal myth and media, this book explores the undead and unholy in literature, film, television, and popular culture. Following an introduction to frightful manifestations in media, sections address ghosts, vampires, and monsters individually, and each section includes a broad consideration of the ghost, vampire or monster in American culture. The section dedicated to ghosts examines the'spectral turn'of popular culture and the ghost's relation to justice and mourning, with particular attention to Toni Morrison and Herman Melville. In the vampires section, the author considers the undead bloodsucker's relationship to anti-Semitism, suicide, and cinema. The third section discusses monsters in relation to topics such as global pandemics, terrorism, mass shootings,'stranger danger,'and social otherness, with attention to a range of popular culture texts including the films IT and It Follows.

This Pivot traces the rise of the so-called “vegetarian” vampire in popular culture and contemporary vampire fiction, while also exploring how the shift in the diet of (some) vampires, from human to animal or synthetic blood, responds to a growing ecological awareness that is rapidly reshaping our understanding of relations with others species. The book introduces the trope of the vegetarian vampire, as well as important critical contexts for its discussion: the Anthropocene, food studies, and the modern practice, politics and ideologies of vegetarianism. Drawing on references to recent historical contexts and developments in the genre more broadly, the book investigates the vegetarian vampire's relationship to other more violent and monstrous forms of the vampire in popular twenty-first century horror cinema and television. Texts discussed include Interview with the Vampire, Buffy the Vampire Slayer, Twilight, The Vampire Diaries and True Blood. Reading the Vegetarian Vampire examines a new aspect of contemporary interest in considering vampire fiction.

Against the social and economic upheavals that characterized the nineteenth century, the border-bending nosferatu embodied the period's fears as well as its forbidden desires. This volume looks at both the range among and legacy of vampires in the nineteenth century, including race, culture, social upheaval, gender and sexuality, new knowledge and technology. The figure increased in popularity throughout the century and reached its climax in Dracula (1897), the most famous story of bloodsuckers. This book includes chapters on Bram Stoker's iconic novel, as well as touchstone texts like John William Polidori's The Vampyre (1819) and Sheridan Le Fanu's Carmilla (1872), but it also focuses on the many “Other” vampire stories of the period. Topics discussed include: the long-war veteran and aristocratic vampire in Varney; the vampire as addict in fiction by George MacDonald; time discipline in Eric Stenbock's Studies of Death; fragile female vampires in works by Eliza Lynn Linton; the gender and sexual contract in Mary Elizabeth Braddon's “Good Lady Ducayne;” cultural appropriation in Richard Burton's Vikram and the Vampire; as well as Caribbean vampires and the racialized Other in Florence Marryat's The Blood of the Vampire. While drawing attention to oft-overlooked stories, this study ultimately highlights the vampire as a cultural shape-shifter whose role as “Other” tells us much about Victorian culture and readers'fears or desires.

This book explores the narratives of girlhood in contemporary YA vampire fiction, bringing into the spotlight the genre's radical, ambivalent, and contradictory visions of young femininity. Agnieszka Stasiewicz-Bieńkowska considers less-explored popular vampire series for girls, particularly those by P.C. and Kristin Cast and Richelle Mead, tracing the ways in which they engage in larger cultural conversations on girlhood in the Western world. Mapping the interactions between girl and vampire corporealities, delving into the unconventional tales of vampire romance and girl sexual expressions, examining the narratives of women and violence, and venturing into the uncanny vampire classroom to unmask its critique of present-day schooling, the volume offers a new perspective on the vampire genre and an engaging insight into the complexities of growing up a girl.

In der Figur des Vampirs manifestiert sich das Beste wie das Schlechteste, was Menschen sich selbst zutrauen. Unsere Vorstellungen vom blutsaugenden Wesen haben im Laufe der letzten Jahrhunderte einen Wandel erlebt, den Thomas Macho als einen'Zivilisationsprozess der Vampire'bezeichnet hat. Der Sammelband mit Beiträgen aus ethnologisch-kulturwissenschaftlicher Perspektive zeichnet diesen Bedeutungswandel nach, den Vampir_innen in der Gegenwart erfahren haben: von der Verkörperung grenzüberschreitend-eskapistischer Wünsche hin zum alltäglich gelebten Triebverzicht der ›guten‹ Vampire, wie man sie beispielsweise aus der Twilight-Serie kennt. Die Beiträger_innen widmen sich der gesamten Bandbreite moderner Imaginationen von Vampirgestalten in digitalen Spielen, Serien und literarischen Fiktionen und geben darüber hinaus auf der Grundlage lebensgeschichtlicher Interviews mit sogenannten'Vampyr_innen'Einblicke in das Phänomen eines gelebten'Vampyrismus'.

This work studies the ways vampiric narratives explore the eco-friendly credentials of the undead. Many of these texts and films show the vampire to be an essential part of a global ecosystem and an organism that can no longer tolerate the all-consuming forces of globalization and consumerism. Re-examining Bram Stoker's Dracula and a range of other vampire narratives, primarily films, in a fresh light, this book reveals the nosferatu as both a plague on humankind and the eco-warriors that planet Earth desperately needs.

The media vampire has roots throughout the world, far beyond the shores of the usual Dracula-inspired Anglo-American archetypes. Depending on text and context, the vampire is a figure of anxiety and comfort, humor and fear, desire and revulsion. These dichotomies gesture the enduring prevalence of the vampire in mass culture; it can no longer articulate a single feeling or response, bound by time and geography, but is many things to many people. With a global perspective, this collection of essays offers something new and different: a much needed counter-narrative of the vampire's evolution in popular culture. Divided by geography, this text emphasizes the vampiric as a globetrotting citizen du monde rather than an isolated monster.

“The Vampire - His Kith and Kin” is a 1928 work by English clergyman and author Montague Summers. Within it, Summers discusses the vampire phenomena from a Catholic point of view, offering an a veritably academic study of the subject. Contents include: “The Origins of the Vampire”, “The Generation of the Vampire”, “The Traits and Practice of Vampirism”, “The Vampire in Assyria, the East, and Some Ancient Countries”, and “The Vampire in Literature”. Augustus Montague Summers (1880 – 1948) was an English clergyman and author most famous for his studies on vampires, witches and werewolves—all of which he believed to be very much real. He also wrote the first English translation of the infamous 15th-century witch hunter's manual, the “Malleus Maleficarum”, in 1928. Other notable works by this author include: “A Popular History of Witchcraft” (1937), “Witchcraft and Black Magic” (1946), and “The Physical Phenomena of Mysticism” (1947).

Spanish Vampire Fiction since 1900: Blood Relations, as that subtitle suggests, makes the case for considering Spanish vampire fiction an index of the complex relationship between intercultural phenomena and the specifics of a time, place, and author. Supernatural beings that drink blood are found in folklore worldwide, Spain included, and writers ranging from the most canonical to the most marginal have written vampire stories, Spanish ones included too. When they do, they choose between various strategies of characterization or blend different ones together. How much will they draw on conventions of the transnational corpus? Are their vampires to be local or foreign; alluring or repulsive; pitiable or pure evil, for instance? Decisions like these determine the messages texts carry and, when made by Spanish authors, may reveal aspects of their culture with striking candidness, perhaps because the fantasy premise seems to give the false sense of security that this is harmless escapism and, since metaphorical meaning is implicit, it is open to argument and, if necessary, denial. Part I gives a chronological text-by-text appreciation of all the texts included in this volume, many of them little known even to Hispanists and few if any to non-Spanish Gothic scholars. It also provides a plot summary and brief background on the author of each. These entries are free-standing and designed to be consulted for reference or read together to give a sense of the evolution of the paradigm since 1900. Part II considers the corpus comparatively, first with regard to its relationship to folklore and religion and then contagion and transmission.Spanish Vampire Fiction since 1900: Blood Relations will be of interest to Anglophone Gothic scholars who want to develop their knowledge of the Spanish dimension of the mode and to Hispanists who want to look at some canonical texts and authors from a new perspective but also gain an awareness of some interesting and decidedly non-canonical material.

One of the first books to examine representations of black vampires exclusively, The Paradox of Blackness in African American Vampire Fiction not only refutes the tacit assumption that there is a lack of quality African American vampire fiction worthy of study or reading but also proposes that the black vampires help to answer an important question: Is there more to being black than having a black body? As symbols of immortality, the black vampires in Jewelle Gomez's The Gilda Stories, Tananarive Due's My Soul to Keep, Brandon Massey's Dark Corner, Octavia Butler's Fledgling,and K. Murry Johnson's Image of Emeralds and Chocolate help to identify not only the notions of blackness that should be kept alive or resurrected in the African American community for the twenty-first century but also the notions of blackness that should die or remain dead.

Postmodern Vampires: Film, Fiction, and Popular Culture is the first major study to focus on American cultural history from the vampire's point of view. Beginning in 1968, Ní Fhlainn argues that vampires move from the margins to the centre of popular culture as representatives of the anxieties and aspirations of their age. Mapping their literary and screen evolution on to the American Presidency, from Richard Nixon to Donald Trump, this essential critical study chronicles the vampire's blood-ties to distinct socio-political movements and cultural decades in the late twentieth and early twenty-first centuries. Through case studies of key texts, including Interview with the Vampire, The Lost Boys, Blade, Twilight, Let Me In, True Blood and numerous adaptations of Dracula, this book reveals how vampires continue to be exemplary barometers of political and historical change in the American imagination. It is essential reading for scholars and students in Gothic and Horror Studies, Film Studies, and American Studies, and for anyone interested in the articulate undead.

The classic vampire novel. According to Wikipedia:'Abraham'Bram'Stoker (1847 – 1912) was an Irish writer of novels and short stories, who is best known today for his 1897 horror novel Dracula. During his lifetime, he was better known for being the personal assistant of the actor Henry Irving and the business manager of the Lyceum Theatre in London, which Irving owned.'

This book critically situates the figure of the black female vampire in several fields of study including literary studies, cultural studies, gender studies, and critical race studies. Black female vampires continue to appear as important literary devices and revealing indicators of cultural attitudes and trends about African American women's bodies. This book examines five novels written by four African American women writers to investigate what it means to represent African American womanhood through the lens of vampirism, interrogate how these representations connect to or stem from historical representations of African American women, and explore how representations of black female vampires in African American women's literature simultaneously negate, reinforce, or dismantle stereotypes of African American women.

Central to every vampire story is the undead's need for human blood, but equally compelling is the human ingestion of vampire blood, which often creates a bond. This blood connection suggests two primal, natural desires: breastfeeding and communion with God through a blood covenant. This analysis of vampire stories explores the benefits of the bonding experiences of breastfeeding and Christian and vampire narratives, arguing that modern readers and viewers are drawn to this genre because of our innate fascination with the relationship between human and maker.

Famous for introducing the character of the Vampire Count Dracula, the novel tells the story of Dracula's attempt to relocate from Transylvania to England: it depicts the battle between Dracula and a small group of men and women.

“I am longing to be with you, and by the sea, where we can talk together freely and build our castles in the air.”The English solicitor, Jonathan Harker, travels to a castle in the Carpathian Mountains to see the Transylvanian noble, Count Dracula. At first, Harker is intrigued by the eccentric count, but as more mysterious and terrifying events occur, he realizes he's now a prisoner in the castle. When Dracula leaves Harker behind and travels to England, Harker's beloved fiancé Meena and her friend Lucy Westenra are put in grave danger, and a group of adversaries, led by the vampire hunter Abraham van Helsing, must do whatever it takes to stop Dracula.Featuring one of the most famous vampires in literature, Dracula is considered a masterpiece of the horror genre.The Legend Classics series:Around the World in Eighty DaysThe Adventures of Huckleberry FinnThe Importance of Being EarnestAlice's Adventures in WonderlandThe MetamorphosisThe Railway ChildrenThe Hound of the BaskervillesFrankensteinWuthering HeightsThree Men in a BoatThe Time MachineLittle WomenAnne of Green GablesThe Jungle BookThe Yellow Wallpaper and Other StoriesDraculaA Study in ScarletLeaves of GrassThe Secret GardenThe War of the WorldsA Christmas CarolStrange Case of Dr Jekyll and Mr HydeHeart of DarknessThe Scarlet LetterThis Side of ParadiseOliver TwistThe Picture of Dorian GrayTreasure IslandThe Turn of the ScrewThe Adventures of Tom SawyerEmmaThe TrialA Selection of Short Stories by Edgar Allan PoeGrimm Fairy TalesThe AwakeningMrs DallowayGulliver's TravelsThe Castle of OtrantoSilas MarnerHard Times

This book offers a unique argument for the emergence of a post-9/11 vampire that showcases changing perspectives on identity and religion in American culture, offering a look at how cultural narratives can be used to work through trauma. Cultural narratives have long played a valuable role in mediating difficult and politically sensitive topics. Christina Wilkins addresses how the figure of the vampire is used in modern narratives and how it has changed from previous incarnations, particularly in American narratives. The vampire has been a cultural staple for centuries but the current conception of the figure has been arguably Americanized with the rise of the modern American vampire coinciding with the aftermath of 9/11. Wilkins investigates changes evident in cultural representations, and how they effectively mediate the altered approach to issues of trauma and identity. By investing metaphorical tropes with cultural significance, the book offers audiences the opportunity to consider new perspectives and prompt important discussions while also illuminating changes in societal attitudes.

'Miedo y deseo. Esas son las principales emociones que provoca en nosotros el vampiro. Un terror paralizante, que se combina con una atracción difícil de resistir. Poderosas impresiones, tan antiguas como la especie humana misma. Pero reducir una obra cumbre de la literatura universal como Drácula a una novela de terror supone pasar por alto el intenso impacto cultural que ha tenido en nuestras sociedades. En el interior de esa ficción palpitan los terrores y anhelos de una época pasada; unas pasiones, sin embargo, que extienden sus tentáculos hasta nuestros días. Miedo y deseo. Historia cultural de Drácula (1897) es un viaje al corazón de los Cárpatos en busca de lo que somos. Es la lucha heroica de una joven por sobrevivir, por encontrar un espacio al margen de las imposiciones de los varones. Es también una indagación sobre el fanatismo, la maldad y la locura, sobre la percepción que las clases dominantes tienen de sí mismas, sobre el trato que debemos dispensar al diferente, sobre la capacidad que posee el miedo para movilizar voluntades, sobre la implacable fuerza del deseo… La presente investigación es una pesquisa de historia cultural sobre el modo en que distintas ideologías pugnan por modelar a los sujetos históricos, por determinar sus actos, su forma de ser y de comportarse. ¿Podría Drácula ayudarnos a entender mejor el mundo del que venimos? ¿Podría contribuir a conocernos mejor a nosotros mismos? ¿Seremos capaces de soportar la mirada del monstruo para descubrir aquello que tiene que mostrarnos?'

¿Por qué es Drácula un transilvano? ¿Era esta la única opción disponible en el imaginario colectivo cuando Stoker decidió crear el personaje que ha venido a encarnar las esencias del vampirismo en el mundo contemporáneo? El presente libro viene a demostrar que, durante varios siglos Transilvania no fue la patria principal de los vampiros. Al menos hasta mediados del siglo XVIII –pero también, en paralelo, hasta mucho después–, ese lugar lo ocupaba Grecia. ¿Cuáles son, por tanto, las causas del olvido cultural que hoy nos ha borrado de la conciencia este dato fundamental, y que llevaron a Stoker a escoger un escenario más oriental y menos reconocible para su criatura? Estas páginas pretenden no solo responder a esta pregunta, sino, ante todo, desenterrar un ingrediente fundamental, y hoy desconocido, del mito moderno del vampiro: el'brucolaco'o vampiro griego. Lo hacen en dos partes: por medio de un ensayo introductorio donde se contextualiza el fenómeno y se indaga en las razones históricas y culturales de esta amputación crucial, y a través de una amplia antología de textos, griegos y occidentales, de entre los siglos XVI y XX, que incluye varios relatos de vampiros nunca antes traducidos a una lengua occidental.

Packaged in handsome, affordable trade editions, Clydesdale Classics is a new series of essential works. From the musings of literary geniuses such as Nathaniel Hawthorne in The Scarlet Letter to the striking personal narrative of Harriet Jacobs in Incidents in the Life of a Slave Girl, this new series is a comprehensive collection of our literary history through the words of the exceptional few.An enduring work of horror, Stoker's Dracula still provides chills more than one hundred years after its original publication and seemingly endless film adaptations.Written in series of letters and journal entries, Dracula tells the story of the legendary vampire from the perspective of a young British solicitor Jonathan Harker, as well as others. Harker arrives at Dracula's castle believing he is there for a business transaction, only to realize his host intends to keep him prisoner. Harker barely escapes the Count's castle, but must get back to England. Little does Harker know, Dracula has decided to leave Transylvania for England, where he intends to replenish his previous strength and spread his vampirism among those that Harker holds most dear.Stoker's Dracula serves as the framework for many subsequent vampire novels. It is here that we discover the vampire's aversion to garlic, sleeping in the ground, and the enchanting influence over others that have become a staple in the genre. Experience the unabridged classic in this edition and be mesmerized by the hold that it will have over you.

This volume analyses the role of Bram Stoker's Dracula and its sequels in the evolution of the Gothic. As well as the transformation of the Gothic location—from castles, cemeteries and churches to the modern urban gothic—this volume explores the evolution of the undead considering a range of media from the 19th century protagonist to sympathetic contemporary vampires of teen Gothic. Based on an interdisciplinary approach (literature, tourism, and film), the book argues that the development of the Dracula myth is the result of complex international influences and cultural interactions. Offering a multifarious perspective, this volume is a reference work that will be useful to both academic and general readers.

Jonathan Harker has business in Transylvania with the mysterious Count Dracula. Harker travels by train and carriage to get to Dracula's remote castle. Once there, Harker, finds, to his horror, that he is a prisoner and that Dracula has a dark, evil secret. Wandering the castle alone at night, Harker is nearly killed by three vampyric sisters. Dracula saves him from the sisters in order that Harker might finish the last of the legal necessities for his move to London. Once that work is done Dracula abandons Harker to the three bloodthirsty sisters and leaves for England. Harker barely escapes from the castle with his life. To his horror he discovers that back in London, Dracula is stalking Harker's fiancee Mina Murray and her friend Lucy. Harker struggles to get home, where he and everyone he loves will be locked in a fight for their very souls.

Christopher Frayling has spent 45 years exploring the history of one of the most enduring figures in the history of mass culture the vampire. Vampyres is a comprehensive and generously illustrated history and anthology of vampires in literature, from the folklore of Eastern Europe to the Romantics and beyond. Frayling recounts the most significant moments in gothic history, while extracts from a huge range of sources including Bram Stokers detailed research notes for Dracula, penny dreadfuls and Angela Carters The Bloody Chamber, new to this edition are contextualized and analysed. This revised and expanded edition brings Vampyres up to date with 21st-century vampire literature, including new text extracts, commentary and a revised introduction. For the first time, Christopher Frayling also explores the development of the vampire in the visual arts in four colour-plate sections, with illustrations ranging from 18th-century prints to 21st-century film stills, demonstrating the enduring appeal of the vampire from popular press to fine art and, finally, to film.

Seit ihrer Verschriftlichung im 18. Jahrhundert wird die Figur des Vampirs als fremdartig beschrieben. Ihre dauerhafte Ästhetisierung – von Goethes Die Braut von Corinth bis Bram Stokers Dracula – verhalf der Figur zu einer beispiellosen Karriere, die bei genauerer Betrachtung zwei Dinge offenlegt: So fremd, wie Geschichte und Kunst sie darstellen, ist die Vampirfigur nicht. Anhand theoretischer Ansätze von Giorgio Agamben, Hans Richard Brittnacher und Homi Bhabha arbeitet der Autor den Vampir als bekannten Fremden und somit als Teil des Eigenen heraus.

Die originale, ungekürzte Geschichte auf Deutsch. Dracula von Bram Stoker ist der bekannteste Vampirroman aller Zeiten. Er hat Maßstäbe gesetzt, nicht nur wegen der unheimlichen Elemente, sondern auch wegen der originellen Erzählweise. Der Roman war das Modell zu unzähligen Film- und Buchversionen. Neben dem Grafen Dracula taucht auch der Gelehrte und Vampirjäger Van Helsing auf. Der Graf beschränkt sich nicht darauf, in Rumänien Blut zu saugen...

The long and distinguished tradition of the literary vampire began in Germany during the Age of Enlightenment. German literature was the first to adapt the vampire figure from central European folklore and superstition and give it literary form. Despite these German origins, scholarly attention devoted to literary vampires has consistently focused on a select set of sources: British and French literature, Bram Stoker's Dracula, and the phenomenon of the vampire superstition in general. While there have been many illuminating studies of pre-literary vampires and vampires that have already been firmly established as literary figures, the story of the crucial moment of transition from folkloric figure to literary subject has not yet been told. In The Origins of the Literary Vampire Heide Crawford redirects scholarly attention to the body of German poetry and prose where vampire folklore becomes vampire literature. This book focuses on the adaptation of the vampire superstition from central European folklore by German poets in the 18th and early 19th centuries for an audience that had become increasingly interested in superstition and occult phenomena in an Age of Enlightenment. In addition to establishing that the origins of the literary vampire in 18th and 19th century German poetry and prose were informed by the stories and reports of vampires from Central Europe, Crawford argues that the German poets who adapted this figure from superstition for their creative work immediately molded it into a metaphor for contemporary cultural anxieties and fears—a connection that would inspire horror literature in general and the traits of the literary vampire in particular for the 19th century and beyond. Contemporary culture has exhibited a marked fascination with eroticized and politicized applications of the vampire. This volume traces these erotic motifs, common political motifs and others to the first vampire poems that were written by German poets. Consequently, this book answers three central questions: What were the origins of the literary vampire; how was the vampire of folklore and superstition adapted for literature; and how did German poets contribute to the development of the vampire and Gothic horror literature? By answering these and other questions, The Origins of the Literary Vampire explains how the literary vampire became the ubiquitous horror figure it is today.

This collection of interconnected essays relates the Undead in literature, art and other media to questions concerning gender, race, genre, technology, consumption and social change. A coherent narrative follows Enlightenment studies of the vampire's origins in folklore and folk panics, the sources of vampire fiction, through Romantic incarnations in Byron and Polidori to Le Fanu's Carmilla. Further essays discuss the Undead in the context of Dracula, fin-de-siècle decadence, Nazi Germany and early cinematic treatments. The rise of the sympathetic vampire is charted from Coppola's film, Bram Stoker's Dracula, to Buffy the Vampire Slayer and Twilight. More recent manifestations in novels, TV, Goth subculture, young adult fiction and cinema are dealt with in discussions of True Blood, The Vampire Diaries and much more. Featuring distinguished contributors, including a prominent novelist, and aimed at interdisciplinary scholars or postgraduate students, it will also appeal to aficionados of creative writing and Undead enthusiasts.www.opengravesopenminds.com

Zombies, vampires and ghosts feature prominently in nearly all forms of entertainment in the 21st century, including popular fiction, film, comics, television and computer games. But these creatures have been vital to the entertainment industry since the best-seller books of a century and half ago. Monsters don't just invade popular culture, they help sell popular culture. This collection of new essays covers 150 years of enduringly popular Gothic monsters who have shocked and horrified audiences in literature, film and comics. The contributors unearth forgotten monsters and reconsider familiar ones, examining the audience taboos and fears they embody.

The Things That Fly in the Night explores images of vampirism in Caribbean and African diasporic folk traditions and in contemporary fiction. Giselle Liza Anatol focuses on the figure of the soucouyant, or Old Hag—an aged woman by day who sheds her skin during night's darkest hours in order to fly about her community and suck the blood of her unwitting victims. In contrast to the glitz, glamour, and seductiveness of conventional depictions of the European vampire, the soucouyant triggers unease about old age and female power. Tracing relevant folklore through the English- and French-speaking Caribbean, the U.S. Deep South, and parts of West Africa, Anatol shows how tales of the nocturnal female bloodsuckers not only entertain and encourage obedience in pre-adolescent listeners, but also work to instill particular values about women's “proper” place and behaviors in society at large. Alongside traditional legends, Anatol considers the explosion of soucouyant and other vampire narratives among writers of Caribbean and African heritage who in the past twenty years have rejected the demonic image of the character and used her instead to urge for female mobility, racial and cultural empowerment, and anti colonial resistance. Texts include work by authors as diverse as Nobel Laureate Toni Morrison, U.S. National Book Award winner Edwidge Danticat, and science fiction/fantasy writers Octavia Butler and Nalo Hopkinson. This book is available as an audio book (https://www.abantuaudio.com/books/1197052/The-Things-That-Fly-in-the-Night).

Chills race up and down young solicitor Jonathan Harker's spine as he enters the eerie castle of a Transylvanian count. His host, Count Dracula, is a curious creature that becomes enamored with the photograph of Harker's fiancee, Mina. Dracula decides he must find the enchanting Mina and have her as his own. He boards a boat and makes the long journey to find Mina as the ship's crew mysteriously disappears one by one. Van Helsing, called to care for Mina's friend Lucy, senses there is something different about Dracula. Mina is drawn to Dracula's seduction and tries to fight this overwhelming power. But can she?

Prominent examples from contemporary vampire literature expose a desire to re-evaluate and re-work the long-standing, folkloristic interpretation of the vampire as the immortal undead. This book explores the'new vampire'as a literary trope, offering a comprehensive critical analysis of vampires in contemporary popular literature and demonstrating how they engage with essential cultural preoccupations, anxieties, and desires. Drawing from cultural materialism, anthropology, psychoanalysis, literary criticism, gender studies, and postmodern thought, Piatti-Farnell re-frames the concept of the vampire in relation to a distinctly twenty-first century brand of Gothic imagination, highlighting important aesthetic, conceptual, and cultural changes that have affected the literary genre in the post-2000 era. She places the contemporary literary vampire within the wider popular culture scope, also building critical connections with issues of fandom and readership. In reworking the formulaic elements of the vampiric tradition — and experimenting with genre-bending techniques — this book shows how authors such as J.R. Ward, Stephanie Meyers, Charlaine Harris, and Anne Rice have allowed vampires to be moulded into enigmatic figures who sustain a vivid conceptual debt to contemporary consumer and popular culture. This book highlights the changes — conceptual, political and aesthetic — that vampires have undergone in the past decade, simultaneously addressing how these changes in'vampire identity'impact on the definition of the Gothic as a whole.

When Stephenie Meyer's first novel, Twilight, was published in 2005, it had an astounding reception, selling millions of copies. The three sequels that followed—New Moon, Eclipse, and Breaking Dawn—became international bestsellers as well. The worldwide success of the movie adaptations further cemented the series as a cultural force on par with other popular franchises such as Harry Potter. But why is this? What is it about Twilight that makes it so appealing to people? And what does Twilight's success reveal about transnational cultural trends? In The Twilight Saga: Exploring the Global Phenomenon, Claudia Bucciferro has assembled a collection of essays that examine the series from a variety of perspectives. The essays in this volume consider both the books and the movies, emphasizing the relationships among the texts, the audience, the entertainment industry, and other aspects of the multimillion-dollar franchise. Organized into five sections, the chapters offer a contextualization of the series'appeal, explore different types of Twilight audiences, analyze the cultural referents associated with the main characters, and present new ideas regarding representations of gender, sex, class, and race. Concluding essays examine the saga's influence, unveiling its links to newer workssuch as The Hunger Games, True Blood, and Fifty Shades of Grey.Making sense of how the popular franchise fits within larger contexts, this collection addresses Twilight from an interdisciplinary framework, including insights from history, philosophy, literature, sociology, fan studies, intercultural communication, film studies, and more. Featuring contributions by scholars from the United States, France, Spain, Chile, and Australia, this book emphasizes the international and intercultural relevance of the Twilight phenomenon. The collection is aimed at scholars and students of media and popular culture, but it will also appeal to general readers who are familiar with the series.